Why is it that of all the 1970s music that could be revived, Lady Gaga chooses to bring back drek like disco, while truly good music such as funk and soul haven’t been properly mined since Prince first became a symbol?

No matter. Perhaps the foremost remaining practitioners of contemporary funk/soul, Tower of Power, showed the enduring power of that music Thursday at Allentown’s Symphony Hall.

Tower of Power singer Larry Braggs in file photo

The band moved a smallish crowd to literally dance in their seats, then out of them, throughout the 16-song, 100-minute show.

The show blasted out of the gate – that blast being the band’s four-member horn section – with “We Came to Play,” an appropriate choice, because the band did, indeed, come to play. Lead singer Larry Braggs danced smoothly and asked the crowd, “Are you ready?”

And clearly they were, quickly picking up a handclap to the song’s beat and cheering the introduction of the band’s horn section.

But it was hard to tell whether the crowd was exceptionally responsive, or whether the music simply moved the crowd to respond. So funky was “Soul with a capital ‘S’” – its scratchy guitar a clear inspiration for Prince – that it had people bopping their heads, and more, in their seats. And when Braggs yelled “Sing it!” they did.

Braggs was a fine conduit for the funk, too, dancing coolly during guitar solos, holding a long note (though his voice was too low in the mix) on “Can’t You See (You Doin’ Me Wrong),” or singing in a fast staccato to a sax solo on the crazy good “Credit.”

Later, his voice was far more highlighted on a very good cover indeed of Billy Paul’s “Me and Mrs. Jones.” And Braggs stretched for it – growling and holding high notes. And he sang much smoother soul music on “Below Us, All the City Lights.”

He also did a James Brown foot-shuffle dance on one of the night’s highlights, a very funky “A Little Knowledge (Is a Dangerous Thing),” while the horns blared. Brown’s influence on the band’s music can’t be overstated.

Tower of Power’s storied five-man horn section, too, got into the dancing with simple synchronized moves on “Get Yo’ Feet Back on the Ground.” And don’t forget, these guys are in their 60s; sax player Stephen “Doc” Kupka, 65, and did an impressive shimmy on “So I Got to Groove.”

The crowd even was into the 10-minute instrumental “Walking Up Hip Street,” with its squealing trumpets and a five-minute organ solo, for which they clapped along.

“Allentown, man, we don’t get here enough,” band founder Emilio “Mimi” Castillo said [they last played Allentown at Crocodile Rock Café in 2000]. “I like you people, I like this place. I think we’ll come back more often.”

In fact the one thing for which Castillio chastised the crowd was staying in its seats too long.

“This ain’t a Barry Manilow show!” he said. “After 44 years, one thing is still true. I’m still ‘Diggin’ on James Brown’.” And for that song, the crowd responded, standing and dancing for the nine-minute tribute to Brown.

The band gave the crowd time to rest on the following slower, soulful “So Very Hard to Go” – and to sit again, though two couples slow danced in front of the stage.

But then Castillo signaled the band’s signature song by saying, “Let me ask the eternal question: ‘What Is Hip?’” And the crowd was up and dancing again for the nine-minute hit, which closed the main part of the show.

The encore was a slow and soulful “You’re Still a Young Man” – one more-aged guy in the crowd sang loudly along, as if he was testifying to the song’s message – and then a short “I Like Your Style.”

After the show, the band signed merchandise in the lobby.

“Brought back some good memories,” one white-haired guy said on the way out of the hall. The only disappointing part is that such good music has to be “brought back.”

John, this review is right on the mark, except that it's a five member horn section, not four. Too bad they don't play our area more often. That's about as good as it gets. The horn lines are so tight, and the rhythm section so funky, you just can't help but get into the music. A very enjoyable evening.

Posted By: Carl | Nov 17, 2011 1:10:28 PM

I changed that, Carl. Thanks for the catch.

Posted By: John J. Moser | Nov 17, 2011 1:30:37 PM

"So funky was “Soul with a capital ‘S’” – its scratchy guitar a clear inspiration for Prince"

Nice review John except that Soul "S" came out in '93 and Prince by that point had been doing his thing for quite a while.

If anything is may have been the other way around.

@ Carl - Depending on what you consider our area they play here quite often.

Two shows at the Keswick in Glenside every April, they've played the Whitaker Center in Harrisburg six of the last eight years, they played the Sherman this year, and they're in AC on Saturday night.

The reason they don't play in Allentown itself is due to poor promotion. Symphony Hall and BRE didn't do a lot to get the show known and Croc Rock did less during their last visit eleven years ago.

Posted By: Lefty33 | Nov 17, 2011 7:44:19 PM

Prince claims to have lost his virginity to "You're Still A Young Man" so I am quite sure that TOP has inspired him in many ways. TOP is in the Philly area once or twice a year, and if the promoters call, they will come. The show's attendance looked a bit light in the beginning, but the band started at 7:30 due to the opening act being canceled. By mid-show, the lower level was packed, but there was room in the two balcony levels.

It was a great show and you will be able to see some video from the show on the TOP website in the near future. www.towerofpower.com

Posted By: Philly Brian | Nov 18, 2011 12:52:58 PM

"By mid-show, the lower level was packed, but there was room in the two balcony levels."

Room in the two balcony levels?

There were like twenty people in the balcony level and the loge level was maybe a third full.

The show at best was 2/3 full which would have left 300-400 tickets out of 1200 max unsold mostly from the inventory alloted to TM on the right side of the venue.

Posted By: Lefty33 | Nov 19, 2011 1:35:43 AM

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JOHN J. MOSER has been around long enough to have seen the original Ramones in a small club in New Jersey, U2 from the fourth row of a theater and Bob Dylan's born-again tours. But he also has the number for All-American Rejects' Nick Wheeler on his cell phone, wrote the first story ever done on Jack's Mannequin and hung out in Wiz Khalifa's hotel room.

OTHER CONTRIBUTORS

JODI DUCKETT: As The Morning Call's assistant features editor responsible for entertainment, she spends a lot of time surveying the music landscape and sizing up the Valley's festivals and club scene. She's no expert, but enjoys it all — especially artists who resonated in her younger years, such as Crosby, Stills, Nash and Young, Tracy Chapman, Santana and Joni Mitchell.

KATHY LAUER-WILLIAMS enjoys all types of music, from roots rock and folk to classical and opera. Music has been a constant backdrop to her life since she first sat on the steps listening to her mother’s Broadway LPs when she was 2. Since becoming a mother herself, she has become well-versed on the growing genre of kindie rock and, with her son in tow, can boast she has seen a majority of the current kid’s performers from Dan Zanes to They Might Be Giants.

STEPHANIE SIGAFOOS: A Jersey native raised in Northeast PA, she was reared in a house littered with 8-tracks, 45s and cassette tapes of The Beatles, Elvis, Meatloaf and Billy Joel. She also grew up on the sounds of Reba McEntire, Garth Brooks and Tim McGraw and can be found traversing the countryside in search of the sounds of a steel guitar. A fan of today's 'new country,' she digs mainstream/country-pop crossovers like Lady Antebellum and Sugarland and other artists that illustrate the genre's diversity.